Word: blier
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Dates: during 1970-1979
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Bradshaw worked the clock like a master after a Roy Blont interception late in the half, and with 24 seconds left, from the 7-yd. line he found unheralded halfback Rocky Blier open in the corner of the endzone. Blier's leaping grab gave Bradshaw the Super Bowl passing record and the Steelers a 21-14 halftime lead...
...Rocky Blier fell on Dallas's second onside kick in the last minute and Bradshaw ran out the remaining 22 seconds to secure the 35-31 triumph...
...Bertrand Blier, 39, is best known for Going Places, a fiercely scatological comedy that was widely and unjustly reviled as misogynistic when it appeared in 1974. Handkerchiefs may provoke a similar response from literal-minded viewers. Like Going Places, it focuses on two libidinous buddies (again played by Gérard Depardieu and Patrick Dewaere) who will try anything to satisfy the seemingly frigid woman (Carol Laure) they crave. Since the doe-eyed heroine, Solange, appears to be a mindless sex object and the heroes are winning rakes, Blier all but invites condemnation as a sexist. But this film maker...
...Blier achieves his subversive vision by pushing his characters' behavior to outrageous extremes. Handkerchiefs is a wet dream gone beautifully berserk. The tone is set by the opening scene, in which Depardieu presents Dewaere, a total stranger, as a "gift" to his wife Solange. She remains indifferent to the men's shenanigans, and the men succumb to complete bafflement. They sit by Solange's bedside, aimlessly but poetically speculating about the mysteries that lie within her heart and mind. Only when the heroine falls for a 13-year-old prodigy (Riton) does she finally arouse from...
...film's cast is both talented and sexy, but Handkerchiefs is a director's movie. Blier consistently conquers the challenges of mood and texture set up by his script, weaving disparate elements into a ripe, dreamlike whole. The film opens in the slapstick manner of a cartoon, then evolves seamlessly into a bucolic Renoir romance. In the second half, Blier stages chase scenes, a benign car crash and a farcical kidnaping-the larky stuff of American screwball comedy. The film's stylized denouement, shot around a wintry mansion, is a surrealist's spooky intimation of tragedy...